--- title: "Mixed ARRI and RED Dailies Workflow: How to Review, Search, and Share R3D + ARRIRAW Together" author: "Cutsio Team" date: "2026-05-06" lastmod: "2026-05-06" category: "Storage & Performance" excerpt: "Learn the operational dailies workflow for mixed ARRIRAW and RED R3D multicam shoots — how to ingest, review, search, and share both formats in a unified pipeline without separate proxy workflows." tags: ["ARRI RAW","RED RAW","ARRIRAW","R3D","Mixed Format","Multicam","DIT Workflow","Cloud Dailies","Post Production","Visual Search"] --- ## How do you run dailies for a mixed ARRI and RED multicam shoot? Upload ARRIRAW (.ari, .mxf, .arx) and RED R3D files from the same shoot day to Cutsio through the enterprise raw ingestion add-on. Cutsio generates streamable review assets from both formats, indexes every frame with a unified Visual Intelligence engine, and retains the original camera files as separate downloadable attachments. The director, editor, and producers access a single searchable library where ARRI and RED clips sit side by side — no separate proxy pipelines, no format-specific review tools, no manual color matching required for the review stream. Mixed ARRI and RED shoots are standard practice in professional production. An Alexa 35 runs as A-cam for primary coverage. A RED V-RAPTOR or KOMODO runs as B-cam for slow-motion, gimbal work, or specialized rigs. The two cameras produce fundamentally different raw files — different containers, different color science, different file sizes, different metadata structures — but the dailies pipeline must treat them as a single unified library. The traditional approach requires the DIT to run two separate proxy render queues: one for ARRIRAW and one for R3D, often in different software, outputting to different codecs, managed in different folders. This doubles the DIT's post-shift workload and creates organizational complexity when the assistant editor tries to build a timeline from mixed-format proxies. Cutsio eliminates the dual-proxy pipeline. Both formats are uploaded as native camera files. The cloud transcode handles the format-specific decoding. The review assets land in the same library, searchable by the same Visual Intelligence engine, shareable through the same links. ## What does a mixed ARRI and RED dailies pipeline look like on set? The operational pipeline for a mixed-format shoot day follows the same sequence for both cameras but with format-specific timing due to different file sizes and card capacities. | Time | Task | ARRI Alexa 35 (.arx) | RED V-RAPTOR (.r3d) | | :--- | :--- | :--- | :--- | | Wrap time | Card offload to RAID | 20–30 min per 512 GB card | 25–35 min per 512 GB card | | Early evening | Checksum verification | ARRI MD5 or Silverstack | RED CARD or Silverstack | | Evening | Upload to Cutsio | ~2.2 TB per 10-hr day | ~2.2 TB per 10-hr day (8:1) | | Overnight | Cloud transcode | Review assets generated | Review assets generated | | Morning | Visual indexing complete | Frame-level search ready | Frame-level search ready | | Morning | Share link sent to team | One link for all footage | Same link — unified | A mixed shoot with Alexa 35 A-cam and RED V-RAPTOR B-cam typically generates 4–5 TB of raw media per day across both cameras. The total upload time depends on the DIT's connection speed, not the camera format. Both formats upload through the same Cutsio interface in the same batch. ### What are the specific file size differences the DIT must account for? | Camera | Format | GB per Minute | Typical Daily Total (10-hr, 3:1 ratio) | Card Type | | :--- | :--- | :--- | :--- | :--- | | Alexa 35 | ARRIRAW Xpress (.arx) | ~3.0 GB/min | ~1.1 TB | SXR Capture Drive or CFexpress | | Alexa 35 | Uncompressed MXF | ~6.0 GB/min | ~2.2 TB | SXR Capture Drive | | Alexa Mini LF | MXF-wrapped ARRIRAW | ~4.8 GB/min | ~1.7 TB | SXR Capture Drive | | RED V-RAPTOR | R3D 8K 8:1 | ~6.0 GB/min | ~2.2 TB | CFexpress Type B | | RED V-RAPTOR | R3D 8K 12:1 | ~4.0 GB/min | ~1.4 TB | CFexpress Type B | | RED KOMODO-X | R3D 6K 8:1 | ~3.2 GB/min | ~1.2 TB | CFexpress Type B | The DIT needs approximately 5–8 TB of local RAID storage per mixed shoot day (primary + backup) plus the cloud upload bandwidth. The format split affects card rotation and offload scheduling but does not add complexity to the Cutsio ingest — both formats are uploaded identically.
Cutsio

One dailies pipeline for ARRI and RED

Upload ARRIRAW and RED R3D from the same shoot day. Cutsio generates unified streamable review assets with Visual Intelligence across both formats. Originals stay attached.

Try Cutsio Free

No credit card. 60 mins free.

## How do you search across mixed ARRI and RED footage in one library? Visual Search in Cutsio works identically across both ARRIRAW and RED R3D review streams because the Visual Intelligence engine indexes the transcoded review assets, not the raw camera files. A single search query returns results from both formats simultaneously. The director or editor does not need to know which camera shot which clip. A search for "close-up of actor lighting a cigarette" returns: - ARRIRAW frames from the Alexa 35 A-cam (master coverage) - RED R3D frames from the V-RAPTOR B-cam (matching B-cam angle) - Any additional coverage from either camera The results are ranked by visual relevance, not by camera format. The search result displays the clip's source metadata — including camera model, format, and color space — so the editor can identify which camera captured each frame, but the search itself is format-agnostic. ### What happens when one camera has scratch audio and the other does not? ARRIRAW clips recorded with scratch audio are transcribed automatically. RED R3D clips shot MOS (common for RED on mixed shoots) have no transcript. Cutsio handles this transparently: - **Clips with scratch audio**: Searchable by both visual content and dialogue transcription - **MOS clips**: Searchable by visual content only — Visual Search fills the gap that transcript search cannot cover - **Combined queries**: "Close-up of actor saying the line about the money" will return the ARRI clip with matching audio transcription and any visually similar RED clips that match the visual description This hybrid search capability is critical for mixed shoots where one camera (typically the ARRI A-cam) records scratch audio while the RED B-cam runs MOS for slow-motion or gimbal work. ## How do Collections unify mixed-format footage for the editorial team? Collections in Cutsio group ARRIRAW and RED R3D clips into the same visual hub regardless of source format — so the assistant editor builds selects from a single Collection instead of toggling between two folder hierarchies. For a mixed shoot, Collections can be organized by: - **Scene**: "Scene 24 — All Coverage" (contains A-cam ARRIRAW + B-cam R3D) - **Shoot Day**: "Day 07 — ARRI A-cam + RED B-cam" - **Shot Type**: "Slow-Motion Selects" (primarily RED R3D 120 fps) - **Camera**: "B-Cam RED V-RAPTOR Gimbal Moves" - **Status**: "Director's Favorites" (mixed format) When the director marks a take as "Approved" on an ARRIRAW clip, it appears alongside approved RED clips in the same Collection view. The assistant editor exports a single selects EDL from the Collection, referencing the original file names and timecodes of both ARRIRAW and R3D files — no separate EDL per format required. ### How does the selects EDL handle mixed-format references? The exported EDL or FCPXML lists each clip by its original file name and timecode, regardless of whether the source is `.ari`, `.mxf`, `.arx`, or `.r3d`. When the assistant editor imports the EDL into DaVinci Resolve or Premiere Pro, they link to the original camera files on the local RAID. The NLE handles the format-specific decoding natively — the EDL does not need format-specific treatment. ## How does the Share link work for mixed-format dailies? Cutsio's Share feature generates a single review link for mixed-format collections. The director, DP, and producers open one link and see all footage from both cameras in a unified viewing experience — no need to switch between an ARRI review platform and a RED review platform. Share link settings for mixed-format dailies: | Setting | Recommended Configuration | | :--- | :--- | | Password | Required — shared with key stakeholders only | | Expiration | 7 days (per shoot day) | | View tracking | Enabled — confirms each stakeholder reviewed their camera's footage | | Commenting | Frame-accurate, timecoded — works identically on both formats | | Download | Restricted — R3D and ARRIRAW originals available only to authorized users | The director watches the A-cam ARRIRAW coverage and the B-cam RED slow-motion clips in the same viewing session. Comments on ARRIRAW clips and RED clips appear in the same comment feed. The editor sees all feedback in one place, linked to the exact frame regardless of which camera captured it. ## How does Agentic Chat handle mixed-format queries? Agentic Chat in Cutsio answers natural language questions across the entire mixed-format library — the crew does not specify which camera format they are searching. Examples of mixed-format queries: - "Show me the Alexa 35 coverage of Scene 24 and the RED slow-motion shots from the same scene." - "Find all the ARRIRAW masters and R3D B-cam angles from Day 7." - "Which takes from both cameras have the actor walking through the door?" - "Are there any matching RED close-ups for this ARRI master shot?" Agentic Chat uses the embedded source metadata to distinguish between camera formats while treating the visual content uniformly. The crew asks questions in plain language and gets results from both formats combined or filtered by camera type. ## How does the color pipeline work for mixed ARRI and RED review streams? Cutsio generates the review stream for each format using the correct color metadata — LogC/LogC4 for ARRIRAW, REDWideGamutRGB/Log3G10 for RED R3D — so the review experience accurately represents each camera's intended color science without baking a look into the original files. The review stream preserves: | Camera | Color Space | Gamma | Look Metadata | | :--- | :--- | :--- | :--- | | Alexa 35 (.arx/.mxf) | LogC4 | LogC4 gamma | Embedded CDL or look file applied where possible | | Alexa Mini LF (.mxf) | LogC3 | LogC3 gamma | Embedded look metadata applied where possible | | Alexa SXT (.ari) | LogC | LogC gamma | Legacy look metadata | | RED V-RAPTOR (.r3d) | REDWideGamutRGB | Log3G10 | RED look file (.rlm) applied where possible | | RED KOMODO-X (.r3d) | REDWideGamutRGB | Log3G10 | RED look file applied where possible | When the editorial team exports selects for the final conform, they work from the original camera files — unmodified and format-native. The review stream is a viewing artifact, not a color decision. The colorist starts from the original R3D and ARRIRAW sensor data with the on-set look as reference only. ## How does the DIT hand off mixed-format footage to the editorial team? The DIT handoff for mixed-format footage is simplified because the review, search, and selects workflow happens in Cutsio — the editorial team never needs to handle separate proxy folders for ARRI and RED. The handoff workflow: 1. **DIT uploads** both ARRIRAW and RED R3D files to Cutsio at wrap. 2. **DIT creates Collections** by scene and shoot day, grouping both formats. 3. **DIT shares** the Collection links with the assistant editor and director. 4. **Director reviews** the footage, marks preferred takes, and leaves comments. 5. **Assistant editor** opens the Collection, reviews the director's marks, and exports a selects EDL. 6. **Assistant editor** imports the EDL into the NLE and links to the original camera files on the local RAID. The assistant editor never needs to reconcile ARRI proxies with RED proxies. The EDL references the original camera files directly. The NLE handles the format-specific decoding. ## FAQ ### Can I search ARRI and RED clips in the same visual query in Cutsio? Yes. Visual Intelligence indexes both ARRIRAW and RED R3D frames into the same unified search index. A search for "close-up of hands" or "sunset exterior" returns matching clips from both camera formats in a single result set. ### How do I share a mixed-format selects reel with the director? Create a Collection in Cutsio containing the selected ARRI and RED clips. Share the Collection link with password protection. The director opens a single link and sees all selects regardless of camera format. ### Does the Cutsio share link preserve ARRIRAW and R3D originals for download? Yes. Each clip in the share link includes a download option for the original camera file. The ARRIRAW files (.ari, .mxf, .arx) and RED R3D files remain attached as downloadable originals behind the streamable review asset. For related guides, see the [ARRIRAW container guide](/blog/arriraw-container-guide-ari-mxf-arx-alexa-workflows), the [conform workflow for ARRI RAW and RED R3D](/blog/conform-arri-raw-red-r3d-dailies-davinci-resolve), and the [cloud dailies for ALEXA 35 and RED V-RAPTOR](/blog/cloud-dailies-for-alexa-35-and-red-v-raptor-shoots).

One dailies pipeline. ARRI and RED. Unified.

Stop running separate proxy queues for each camera format. Upload ARRIRAW and RED R3D to Cutsio, get unified streamable review assets with Visual Intelligence, and keep originals attached for conform.

Try Cutsio Free

No credit card required. 60 minutes of free processing.